1.For those that have never heard of you before, can you tell us a little bit about the solo project?
Necrobeast is a black thrash metal band started back in 2004 in Valdivia, Chile. In 2005, we recorded our demo ‘El despertar de la Necrobestia ’, which was a DIY project through and through. The demo was received very well in Chile and other parts of the world; typically, the reach was mostly through word of mouth and trade channels. On its 20th anniversary, our demo was reissued on tape by Brutal Insanity Records (Netherlands), and again, it was well received, getting good reviews from specialised outlets. Happy to see that it stood the test of time.
In 2025, now a one-man project, I recorded the first full-length ‘Iron Baphomet’. Iron Baphomet was released this year at the end of May by Witches Brew (Germany) on LP and CD, and by Urolig Sjel (France) on tape, plus all streaming platforms. It contains 8 neck-breaking black thrash anthems in the vein of Sabbat, Bathory, Aura Noir, among other influences.
2.Recently you have released your first full length, musically how does it differ from the material you have released in the past?
I conceived Iron Baphomet as a continuation of the El despertar de la Necrobestia demo in terms of sound. I think one of the major challenges was that both the demo and the album feel and sound like an organic continuum, not just a copy of what I did 20 years ago or something completely different. Necrobeast will always have this raw, uncompromising, but characteristic black thrash metal sound. Although in the demo, due to its length, the more thrash-metal aspect was not fully explored, I do so on the album. Songs like Blood Gods and Emissary of Death are a manifestation of that old school 80s thrash, whilst From Hell, In Communion with Satan, Jakten, up to some extent, delve deeper into black metal.
Iron Baphomet allowed me to explore different combinations within black thrash, a quite versatile style, to the surprise of many. The way I understand Black/Thrash is by finding a balance between thrash metal riffs and black metal melody and brutality. Making the shift of styles and riffs seamlessly is where I put a lot of work into it. Ultimately, whether I succeeded is for the audience to tell.
3.From 2006 to 2020 there was no music being released, can you tell us a little bit more about the long wait in between releases?
The in-between period was due mostly to studies and work. In 2015, I moved to Sweden, where I restarted playing. In 2018, I joined Morphetik, a thrash metal band based in Uppsala, where I recorded two full-lengths, ‘Omens of War’ and ‘Proclamation of War’. The two albums were released between 2020 and 2023, before and after we played several shows in Sweden.
Yes, it is true that there was a 20-year period between the demo and the album, but in many ways, I think that the album took the time it needed to. I would not have been able to record the same high-quality album if I had released it ten years ago. Thanks to Morphetik's experience, I learned not only about the professional recording process but also about everything that comes after album production. The 20 years were needed to deliver the best version possible of Necrobeast. However, I won’t wait for another 20 years to release the second album! I am currently working on a lot of stuff to keep the creative flow going.
4.A lot of your lyrics cover satanic and occult themes, can you tell us a little bit more about your interest in the dark arts?
Traditionally, the use of blasphemy has been at the centre of crafting both imagery and metal lyrics. In many ways, it is used as a tool to translate a message against political, religious, and divine authorities. In the case of Necrobeast, the lyrics are meant to represent the Word or Message of this entity I’ve created, the Iron Baphomet, and are meant to represent the narratives that give meaning to one of mankind’s most recurrent concerns: the beyond and how we as a species deal with it.
I am fascinated that, no matter the time or place, mankind has always perceived something beyond the physical plane. We have struggled to explain it, which has led to a web of beliefs surrounding it. Some of those beliefs represent ways we deal with the unknown and seek favours from it. Iron Baphomet explores these beliefs and uses blasphemy and satanic lore to express them.
5.What is the meaning and inspiration behind the name 'NecroBeast'?
The meaning comes from the Book of Revelation. The two Great Beasts appear; the First is mortally wounded, but is resurrected by the Dragon. This miracle of the Death Beast (or Necrobeast, if you will) coming to life again is used by the Second Beast to make the people worship it. Necrobeast’s name is inspired by these passages, and it is meant to symbolise the message of liberation from authoritarian doctrines in need of death.
6.Can you tell us a little bit more about the artwork that is presented on the new album cover?
The cover is meant to represent the Temple of the Iron Baphomet. If you open the case, you will find the CD, Tape, or LP inside, which represents the Word of the Iron Baphomet. The word revolves around darkness – the occult – and blood – the sacrifice – hence the colours black and red of the cover. The steps towards the throne form a magic square that adds up to 2505, the day of the birth of Iron Baphomet, with the album being released on the 25th of May.
You can see on the cover the Iron Baphomet on its throne, looking at the album's holder, and the two witnesses: one holding a book with the word (meant to symbolise the booklet and lyrics) and the other carrying the black flame of metal. The cover was done by Nina Ribic Vodlan, the artist who also did the covers of the two singles ‘In Communion with Satan’ and ‘Promethean Flame’.
7.With this project you record everything by yourself but have worked with other musicians before, do you prefer to work solo?
Necrobeast is indeed a one-man project, which means I write the music and lyrics and am in charge of the band's imagery and promotion. However, in the recording of Iron Baphomet, I was helped by Franco Escalona (Morphetik, Nightrage, Always War), who, alongside recording the album, did the bass and by Filip Gäddnäs (Vansidian, Moonlight Sorcery) on drums. They are great and can improve all my ideas with their expertise and musicianship.
I also play guitar in the Swedish Thrash Metal band Morphetik, where the overall writing process is quite social. Typically, we converge on how Morphetik’s songs should sound, so there is not much disagreement. Still, we balance a lot of preferences and take into consideration different points of view until the final version of the song is done.
In Necrobeast, it is different, of course. All the creative decisions are mine, thus making the songwriting quite streamlined. This allows for faster output not only in music but also in imagery, art, and other aspects of a release. The downside is clear, though: the financial burden is important, and the energy budget decreases faster with age. Time, money, and energy all come from one source, making it very taxing sometimes.
8.Originally the project was based in Chile but now located in Netherlands, can you tell us a little bit more about the move?
Necrobeast started in Valdivia. Valdivia is a city in southern Chile, where it rains 300 days a year. Nature has always been something very important in my life, and when writing music, I draw inspiration from the landscapes and sounds where I grew up. Before going to the Netherlands, I lived in Uppsala, Sweden, for 12 years. Uppsala is an ancient city of great importance in Norse mythology. It is said that the gods first landed in Midgard in Uppsala. Valdivia is quite dark and cold year-round, except in the summer, just like Uppsala. Nature also plays a very important role in the development and stories surrounding Uppsala, so it was quite comfortable for me to draw inspiration from the same, as in Valdivia. Then I moved to Maastricht, and it rains a lot there, like in Valdivia. I have been living in Maastricht for more than 3 years now, and weirdly enough, I can draw a connecting line between these three cities. Very different in many aspects, but when it comes to metal and inspiration, they are very similar.
9.On a worldwide level how has the reaction been to your music by fans of black and thrash metal/
The reception of the album has been great. It has been picked up by several outlets with great comments for the most part. Necrobeast has been featured in several zines, podcasts, and radio shows from around the world. In terms of sales and trading, the album has also performed quite well. Several labels have copies for sale, and I have been trading and selling quite a few; it has gone better than expected, to be honest.
Lastly, regarding streaming and viewings, the metrics have been impressive. In the first weeks after its release, the album was streamed more than 6,000 times on Spotify alone and garnered over 2,000 views on YouTube. I know that a more in-depth analysis of all the views and streaming can be done, but besides what I told you, I do not know how to interpret the data. Still, it is evidence of the album's reach and offers a glimpse of people's positive reactions. And that is enough for me.
10.What is going on with 'Morphetik' these days?
At the moment, we are recording our third album. ‘Proclamation of War’ was released in 2023, so it is about time to deliver a new raw dose of unaltered thrash metal to the veins of bangers. The album will have 9 songs, and the guitars have already been recorded. We are not in a rush, but the good thing is that the ball is rolling. I am looking forward to releasing it, so fingers crossed we will have more news at the end of the year.
There might be some live shows ahead, so we need to fine-tune the details and logistics. Since I am in the Netherlands and the rest of the band is in Sweden, sometimes rehearsing and coordinating our schedules can be a bit more difficult.
11.Where do you see yourself heading into as a musician during the future?
I am not ambitious. I just want to keep creating more music with Necrobeast and Morphetik. That is my priority. Kick-ass black thrash and thrash metal anthems that will live forever. Ultimately, contributing to this massive cultural movement that is metal. Also, live shows are something I dearly want to do with Necrobeast, but since it is a one-man project, the logistics of live playing become harder. I have several friends who have offered to play live with me in different countries, so at least I have some work already advanced.
12.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?
I owe a debt of inspiration to bands like Bathory, Minotaur, Aura Noir, Bulldozer, Death Yell, Slayer, Desaster, Darkthrone, Nifelheim, Sabbat, and many more. Through the years, their sound has helped me to frame how the mix of thrash and black should sound. Sometimes in obvious ways, sometimes less obvious. I think the main balance to keep in mind, for me, is to find riffs and rhythms that will seamlessly help me transition between thrash-black and vice versa in each of my songs.
Nowadays, I have been lucky that many of my friends are in bands and produce very high-quality work. The Nameless Shrine, Necromantic Worship, Orion, Teratum, and Nazghor are some of the bands I constantly go back to this year. If you have not checked them out, I would strongly advise you to do it.
13.Before we wrap up this interview, do you have any final words or thoughts?
First, I want to thank you for this space and for allowing me to speak about Necrobeast a bit more. I just want to invite everyone to listen to Iron Baphomet and stay tuned because more will come. I have an EP already recorded. The mixing and mastering are happening as we speak, so I am looking forward to bringing more news. Be vigilant and keep carrying the Black Flame!
Bandcamp: necrobeast.bandcamp.com
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